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In the liner notes, Andy Tillison
mentions his band's latest (and best) release, "A Place In
The Queue", in the same breath as Yes' "Tales From Topographic
Oceans" and Genesis' "The Lamb Lies Down On Broadway", as
well as a couple of other formidable Prog recordings. Quickly
checking his enthusiasm, he makes it very clear that his intent
was to capture the experimentalism, creativity, depth and
spirit of those aforementioned works.
While Tillison acknowledges the
inherent difficulties in aiming for a target like "Tales",
in my opinion, had he been shooting for Brain Salad Surgery,
he may very well have hit the bull's-eye. Time will tell.
"Queue" should establish The Tangent as one of the top neo-Prog
bands around.
The Tangent's first two recordings
included Roine Stolt of Flower Kings fame. His name alone
gave the band an instant audience. On this, their third studio
recording, Roine bowed out. I occasionally miss his unique
vocals and majestic guitar playing. Nevertheless, I do not
feel that his absence is a deal-breaker or will impede the
band's success. Tillison is the band's composer and I would
consider The Tangent to be a keyboard-based band anyway.
Though Roine is gone, other current
or ex-Flower Kings provide The Tangent its rattle and hum.
The ever-impressive Jonas Reingold remains with the band on
bass guitar and ex-Flower King, Jaime Salazar, replaces ex-Flower
King Zoltan Csorsz on drums. (New Flower Kings drummer Marcus
Liliequist has some huge shoes to fill.)
Besides Tillison on keyboards and
vocals, Reingold on bass and Salazar on drums, The Tangent
currently employs Sam Baine on keyboards, Theo Travis on reeds,
Guy Manning on acoustic guitar and Krister Jonsson on electric
guitar.
Tillison is an average singer with
exceptional compositional and arranging skills. I would not
consider the vocal portions of his music to be strongly melodic,
but there is enough melody to keep the listener tuned in.
I listen to "Queue" for its rhythms and instrumental interludes.
The Tangent remind me of an orchestra with Tillison as the
maestro. The players know their roles, and while individuals
are occasionally allowed to shine, they take a back seat to
the compositions.
This is not to imply that these
guys do not know how to rock. This album kicks.
"Queue" has all of the elements
traditional proggers love - a couple of complex epics that
open and close the album with some interesting shorter works
in between. Being a keyboard-oriented band, one will hear
echoes of ELP with a little Genesis here and there and a splash
of Yes. Tillison admits to being a huge fan of Yes, but if
there is any Yes influence, it lies in the complexity and
spirit of the music.
On their first CD, ":The Music
That Died Alone", the band incorporated some jazzy elements
into the music. They take the jazz influence to a higher level
in "Queue" and they do it very well. "Queue" almost has a
'70's fusion feel to it. Maybe that is why it holds so much
appeal for me.
One song that may catch a few listeners
off guard, "The Sun In My Eyes", encroaches on '70's disco
territory. However, it is tastefully done and should be destined
to become a showstopper in their live shows.
Lyrically, Tillison stays topical
and delivers a few political jabs, as have Roine Stolt and
Kaipa done of late, but fortunately politics do not overwhelm
the proceedings.
The main thing missing here, for
me, is that I wish the electric guitar was allowed a bit more
freedom and prominence. I think there are times when the arrangements
cry out for an electric solo (where is Roine when we need
him?), but we get a sax or flute instead. All in all this
is a minor complaint (and personal preference) in an otherwise
outstanding performance.
Rating: 8.5/10.0
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